^■^cis   of 


RUPERT  HUGHE:S 


THE  LIBRARY 
OF 

THE  UNIVERSITY 

OF  CALIFORNIA 

LOS  ANGELES 


uNi- 


<rt> 


George  Kleine's 
Cycle  of 
Film  Classics 


SPARTACUS 

JULIUS    CAESAR 

ANTONY    AND    CLEOPATRA 

"quo   VADIS?" 

THE    LAST    DAYS    OF     POMPEII 

OTHELLO    . 

THE    LION    OF    VENICE 

VANITY    FAIR 


GEORGE     KLEINE 

729  Seventh  Avenue 
New  York 


FOREWORD 


Theater 
Arts 


N  presenting  George  Kleiners 
Cycle  of  Film  Classics  we  are 
realizing  an  old  ideal.  Ever  since 
1897  we  have  imported,  sold  and 
rented  educational  film,  urging  its 
wider  use  among  theatres  and  ad- 
vancing its  interests  in  many  ways,  a  task  not 
always  easy  or  unusually  satisfactory  in  a  com- 
mercial sense. 

Until  recently  the  introduction  of  half  a  reel  of 
purely  educational  material  into  a  fiction  program 
of  four  or  six  reels  brought  emphatic  complaint. 
"My  patrons  want  to  be  entertained — not  in- 
structed," was  a  bit  of  phraseology  familiar  to 
all  old-line  manufacturers,  and  particularly  so  to 
us,  because  of  our  constant  activities  in  this  field, 
our  exceptional  facilities  as  an  importer  and  our 
unshaken  confidence  in  the  recognition  we  were 
sure  would  come. 

Active  strides  have  been  made  during  the  past 
three  years.  Influential  individuals  who  hitherto 
had  shown  but  little  interest  in  the  cause  of  bet- 
ter films  began  systematic  campaigns  pointing  out 
the  great  teaching  values  of  the  motion  picture. 


Fage  three 


654604 


Occasionally,  these  efforts  proved  of  much  harm  to 
the  cause  they  sought  to  aid,  arousing  discussions 
of  a  generally  defamatory  and  unjustly  calumnious 
character,  which  undoubtedly  prevented  many  seri- 
ous-minded persons  whose  trend  of  thought  would 
have  greatly  hastened  the  era  of  better  films  from 
becoming  patrons  of  the  picture  at  all.  On  the 
whole,  however,  the  agitation  proved  beneficial  by 
the  simple  process  of  stimulating  interest. 

Throughout  the  years  we  steadily  maintained 
that  sooner  or  later  the  educational  film  would  re- 
ceive its  proper  recognition,  not  only  by  the  indi- 
vidual, but  the  college,  school  and  philanthropic 
organization  as  well.  Knowledge  finds  its  line  of 
least  resistance  through  the  eye — the  succession  of 
moving  images  are  the  mind  pictures  of  the  film 
producer.  Our  eye  takes  them  up  and  in  process 
of  transfer  to  the  brain  they  become  part  of  our 
conscious  knowledge.  If  the  producer's  effort  is 
serious,  a  work  of  incalculable  good  is  done,  for 
the  motion-picture  audience  is  the  largest  in  the 
world. 

Experience  teaches  that  the  most  successful  edu- 
cational picture  is  the  historical  film  novel.  In  the 
guise  of  the  drama  the  lesson  is  hammered  home 
with  startling  force.  One  notes,  with  quickening 
pulse  details  of  the  great  senate  chamber — the 
robes  of  a  group  of  tense,  expectant  senators — the 

George    K  I  e  i  n  e's     Cycle 
Page  four 


statue  of  Pompey — when  Caesar  walks  slowly  to 
his  doom  that  fatal  day  in  the  Ides  of  March! 
Impressions  received  in  this  way  are  permanent. 

The  purpose  of  this  little  booklet  is  to  call  your 
attention  to  EIGHT  motion-picture  masterpieces 
culled  from  the  productive  genius  of  nineteen 
years,  and  which,  in  point  of  pedagogic  possibili- 
ties, are  unrivaled  in  this  interesting  educational 
field.  We  call  them  "classics,"  and  we  use  the 
term  advisedly.  Literature,  music,  sculpture,  has 
its  classics;  its  masterpieces,  if  you  please,  and  so 
has  this  newer  art.  Greater  motion  pictures  than 
those  described  in  the  following  pages  have  never 
been  made,  and  if  we  may  judge  from  the  present 
manifest  commercial  tendencies  of  the  craft  are  in 
little  danger  of  immediate  emulation. 

We  decided  three  years  ago  that  the  time  for 
the  realization  of  our  ideal  had  come.  We  gave 
the  world  "Quo  Vadis?"  first  of  the  great  clas- 
sics. Like  its  successors,  it  is  an  historical  film 
novel.  With  the  seven  other  productions  included 
in  George  Kleine's  Cycle  of  Film  Classics  it 
represents  an  investment  of  more  than  one  million 
dollars.  The  educational  message  these  beautiful 
films  carry  has  been  absorbed  by  people  of  every 
race  and  creed  in  almost  every  city,  town  and 
hamlet  in  the  nation. 

of    Film     Classics 

Page  five 


EORGE     K  L  E  I  N  E's 

Cycle  of  Film 
Classics  i  s  ar- 
ranged in  chrono- 
logical order  for 
convenience  in  fol- 
lowing the  progressive  course  of 
study  suggested  by  the  Cycle.  The 
period  covered  by  the  eight  subjects 
is  roughly  about  nineteen  hundred 
years,  commencing  with  the  Roman 
classic,  "Spartacus"  (73  B.  C),  to 
the  modern  "Vanity  Fair."  Early 
Roman  subjects  are  five  in  number 
and  include,  in  addition  to  "Sparta- 
cus," "Julius  Caesar,"  "Antony 
and  Cleopatra,  "Quo  Vadis?"  and 
"The  Last  Days  of  Pompeii,"  em- 
bracing those  turbulent  years  of  the 
Roman  Empire  from  about  73 
B.  C.  to  the  destruction  of  Pompeii, 
in  79  A.  D. 


Page  six 


George     K  I  e  i  n  e's     Cycle 


"Othello"  and  "The  Lion  of 
Venice"  are  Fourteenth  Century 
subjects,  photographed  in  Venice, 
Italy.  The  former  is  a  beautiful 
filmization  of  the  Shakespeare 
story,  while  the  latter  is  a  romantic 
drama  of  rare  educational  power  of 
the  Venice  of  that  day.  "Vanity 
Fair"  is  the  only  subject  comprised 
in  the  cycle  manufactured  in  Amer- 
ica. It  is  a  product  of  the  New 
York  City  studios  of  the  Thomas 
A.  Edison  Co.,  featuring  Mrs. 
Minnie  Maddern  Fiske  in  her  his- 
toric role  of  "Becky  Sharpe."  Also 
it  is  the  most  pretentious  feature 
film  bearing  the  trade-mark  of  the 
Edison  Company. 


I 


of    Film     Classics 

Page  seven 


Spartacus 


Period  about  73-71  B.C.     Photographed  at  Rome  and  Turin, 
Italy.     Time  required  to  shoiu,  2  hours. 


HEN  "Spartacus"  was  shown  at 
the  Auditorium  Theatre  in  Chi- 
cago, with  the  Chicago  Grand 
Opera  Company's  orchestra  of  50 
pieces  for  accompaniment,  under 
direction  of  Modest  Altschuler,  it 
was  hailed  by  local  dramatic  critics  as  photo- 
drama's  crowning  triumph. 

This  production  comes  first  in  chronological 
order  in  George  Kleiners  Cycle  of  Film  Clas- 
sics, the  period  being  roughly  about  73-71  B.  C. 

"Spartacus"  is  a  story  of  ancient  Rome — of  the 
bloody  Circus  Maximus — of  the  history-famed 
slave  uprising  led  by  Spartacus — of  the  hand-to- 
hand  conflict  on  the  lava-strewn  sides  of  Vesuvius 
— of  two  great  armies,  one  of  slaves  led  by  Spar- 
tacus, and  the  other  the  flower  of  Roman  soldiery 
led  by  Crassus.  For  the  production  of  this  story 
a  mammoth  arena  was  constructed,  probably  the 
largest  ever  seen  in  motion  pictures.  The  gladia- 
torial games,  participated  in  by  two  companies  of 
gladiators  in  the  Circus  Maximus,  and  the  lux- 
urious feast  of  Crassus  are  instructive  and  enter- 
taining comments  on  the  social  life  of  pleasure- 
Pa^^  nine 


loving  Rome.  The  student  of  ancient  history  will 
find  much  to  engage  his  philosophy  in  the  spec- 
tacle of  several  thousand  Romans  of  both  sexes 
on  pleasure  bent,  gaily  winding  their  way  through 
the  labyrinth  streets  of  the  city  to  the  bloody 
amphitheatre  there  to  give  or  withhold  mercy  for 
the  fallen  gladiator.  And  then,  too,  there  are 
enchanting  peeps  into  the  remote  nooks  and  cor- 
ners of  imperial  Rome.  For  example,  aside  from 
its  story  interest,  a  Roman  grog-shop,  patronized 
by  boastful  gladiators,  furnishes  a  curiously  inter- 
esting commentary  on  the  brutish,  militaristic 
spirit  that  pervaded  the  daily  life  of  the  period. 

The  role  of  Spartacus  is  placed  in  the  able 
hands  of  Signor  Mario  Ansonia,  a  celebrated 
Italian  wrestler  whose  mighty  physique  and  finely 
chiseled  face  makes  him  an  extraordinary  proto- 
type of  the  ancient  gladiator. 

The  story  moves  rapidly. 

Into  Imperial  Rome,  amid  the  cheering  thou- 
sands, marches  the  General  Crassus.  Manacled, 
hand  to  hand,  walks  Spartacus,  Prince  of  Thrace; 
his  sister,  the  Princess  Idamis,  and  her  sweetheart, 
Artemon. 

Amazed  at  the  great  muscular  power  of  his 
prisoners,  Crassus  adds  Spartacus  and  Artemon 
to  his  company  of  gladiators,  bidding  Idamis  be- 
come waiting  maid  to  his  daughter,  Narona. 
Thus  love  springs  up  between  Spartacus  and  the 

George     K  I  e  i  n  e's     Cycle 
Page  ten 


patrician,  Narona.  Idamis  and  Narona  swear  a 
lasting  friendship. 

At  the  gladiatorial  games  Noricus,  captain  of 
the  guards,  conceives  an  enmity  for  the  powerful 
Spartacus.  Disarmed  and  given  his  life  by  Spar- 
tacus,  the  disgruntled  captain  is  reduced  to  the 
ranks  by  Crassus  and  his  captaincy  given  to  Spar- 
tacus. Noricus  soon  learns  of  the  love  between 
Spartacus  and  Narona  and  bides  his  time  of 
revenge. 

One  day  Crassus,  drunk  with  wine  and  feast- 
ing, orders  a  combat  among  his  guards  for  the 
amusement  of  his  guests.  The  bloody  fray  leaves 
Artemon  sole  victor.  Crassus  is  seized  with  a  de- 
sire to  watch  his  captain,  Spartacus,  battle  so  re- 
doubtable a  champion  as  Artemon.  Spartacus 
refuses,  throws  off  the  men-at-arms  and  escapes  to 
the  mountains,  taking  with  him  a  goodly  crowd 
of  slaves  and  gladiators.  Intrenched  in  the  moun- 
tain fastnesses  he  awaits  the  onslaught  of  the 
Romans. 

Meanwhile  Narona  is  torn  by  conflicting  emo- 
tions, but  when  Artemon  visits  her  by  stealth  with 
a  love  note  from  Spartacus  she  determines  to  visit 
him.  Heavily  veiled  with  Idamis  for  company 
and  led  by  Artemon  she  makes  her  way  Into  the 
hills.  While  stealing  through  the  Roman  lines  the 
party  Is  taken  prisoner  by  Noricus. 

That  day  the  gladiators  escape  from  a  perilous 

of    Film     Classics 

Page  eleven 


trap  on  a  lofty  plateau  by  constructing  ropes  of 
fibrous  vines  and  letting  themselves  down  the 
mountain  side.  Catching  the  Romans  by  surprise 
a  bloody  battle  follows,  in  which  the  legionaries 
are  defeated  and  dispersed  and  Crassus  captured. 
Spartacus  is  surprised  and  delighted  to  find  his 
sweetheart,  sister  and  friend  safe  in  one  of  the 
Roman  tents.  At  Narona's  request  he  graciously 
frees  Crassus  and  provides  him  an  escort  back  to 
Rome.  Narona  remains  with  Spartacus.  A  few 
days  later  a  peace  is  signed,  and  the  triumphant 
gladiators,  with  Spartacus  at  their  head,  return  to 
the  Imperial  City.  But  Noricus  still  nurses  his 
hope  of  revenge  and  soon  finds  a  way  in  which  to 
wreak  his  vengeance  upon  Spartacus  and  at  the 
same  time  bring  credit  upon  himself.  Accord- 
ingly, he  plots  with  several  hired  thugs,  and  the 
plot  is  overheard  by  Idamis.  She  is  seized  and 
thrown  into  a  dungeon  beneath  the  Circus  Maxi- 
mus.  Noricus  then  obtains  possession  of  a  sword 
and  cloak  belonging  to  Spartacus.  His  next  step 
is  to  forge  the  name  of  Crassus  to  a  letter  written 
to  Spartacus,  asking  the  latter  to  call  at  once. 
When  all  is  in  readiness  his  aids  murder  Crassus 
and  throw  the  sword  and  cloak  over  the  body. 
Spartacus  is  thus  captured  on  the  bloody  spot  and 
becomes  at  once  a  discredited  and  marked  man. 
Even  Narona  loses  confidence  in  her  lover. 

Condemned  to  die  by  lions  in  the  arena,  Spar- 
tacus is  thrown  into  the  dungeon  to  await  his  fate. 

George    K  I  e  i  n  e's     Cycle 
Page  twelve 


By  a  strange  coincidence  he  discovers  the  presence 
of  his  sister  in  a  neighboring  cell  and  by  sheer 
strength  of  his  mighty  arms  tears  the  bars  asunder 
and  enters.  From  her  he  learns  the  details  of  the 
dastardly  plot  to  ruin  him. 

But  the  time  for  his  death  draws  near.  Out- 
side the  thousands  clamor  for  the  commencement 
of  the  spectacle !  Ten  hungry  lions  leap  from 
their  cages  into  the  arena  and  stand  blinking  in 
the  sun,  seeking  their  prey  with  ravenous  eyes. 
Spartacus  hears  the  dull  rumblings  in  his  cell  and> 
quickly  summoning  a  captain  of  the  guards,  m- 
forms  him  of  the  new  turn  his  affairs  have  taken. 
In  an  instant  the  captain  is  off  to  obtain  the  aid  of 
Narona,  and  the  next  second  a  trainer  throws 
open  the  doors  and  pushes  Spartacus  into  the 
arena. 

A  great  hush  pervades  the  multitude.  The 
lions  greedily  eye  the  splendid  body  of  the  gladi- 
ator as  he  stands  impassively,  arms  folded,  await- 
ing his  doom.  Suddenly  the  shrill  voice  of  a 
woman  rends  the  silence.  It  is  Narona,  scream- 
ing: "Save.  Spartacus!  He  is  innocent!  Here 
stands  my  father's  murderer!"  And  then  the 
voice  of  Noricus  is  raised  in  pleading  accents.  A 
moment  more  and  Spartacus  has  leaped  into  the 
box,  seized  Noricus  and  hurled  him  into  the  arena. 
A  hungry  lion  catches  the  body  in  his  great  paws 
as  it  drops.  And  the  Roman  populace  has  its 
holiday  and  sees  justice  done  as  well. 

of    Film     Classics 

Page  thirteen 


Julius  Caesar 


Period  about  So-44  B.C.     Photographed  at  Rome,  Italy.     Time 
required  to  shoiv,  I  hour  30  minutes. 


N  point  of  sheer  spectacle  this  sub- 
ject has  no  equal.  It  is  similar  in 
period  covered  to  its  sister  pro- 
ductions, "Quo  Vadis?"  and  "An- 
tony and  Cleopatra,"  but  is  larger 
and  more  gorgeous  in  setting  and 


ensemble.  More  than  20,000  persons  appear  m 
some  of  the  big  scenes.  For  its  staging,  a  minia- 
ture city  of  Rome  was  built  six  square  blocks  in 
size.  The  investment,  when  completed,  repre- 
sented almost  half  a  million  dollars,  in  addition 
to  the  untiring  efforts  for  more  than  eighteen 
months  of  a  small  army  of  enthusiastic  workers. 
Julius  Caesar  is  portrayed  by  Anthony  Novelli, 
whose  physical  characteristics  agree  with  pub- 
lished descriptions  of  the  Emperor. 

In  many  respects  "Julius  Caesar"  is  the  master- 
picture.  Unlike  most  alleged  historical  romances, 
this  beautiful  subject  is  correct  to  the  smallest  de- 
tail. Imagine  the  vast  amount  of  work  necessary 
to  the  staging  of  more  than  two  hundred  different 
scenes,  each  of  which  had  to  be  constructed  from 
water-color  sketches  submitted  by  Parisian  au- 
thorities on  antiquities !     Each  chair,  desk,  stylus. 


Page  fifteen 


every  bit  of  statuary,  even  the  ornamental  decora- 
tion of  walls  and  floors,  is  faultlessly  true  to  pe- 
riod, not  to  mention  the  great  variety  of  garments 
worn  by  characters  of  the  drama,  all  denoting  by 
slight  changes  in  cut  and  fabric  varying  degrees 
of  rank  and  social  station. 

"Julius  Caesar"  has  been  projected  for  the 
benefit  of  numerous  universities,  prep  schools  and 
other  public  institutions.  Of  the  vast  number  of 
complimentary  letters  received  by  George  Kleine, 
immediately  following  the  general  showing  of  the 
subject  in  the  United  States,  one  from  Sister 
Teresa,  Mother  Superior  of  the  big  Catholic  Con- 
vent at  Winona,  Minn.,  is  most  prized.  Sister 
Teresa  expressed  her  appreciation  of  the  pro- 
ducer's fidelity  to  detail,  adding:  "There  is  but 
one  flaw.  The  Druidess,  who  attempts  to  assassi- 
nate Caesar  prior  to  his  invasion  of  Gaul,  is 
shown  wearing  a  long  white  gown  caught  by  a 
cincture  about  the  waist.  This  is  incorrect.  The 
gown  should  have  flown  freely  from  neck  to  feet." 

When  one  considers  the  wealth  of  such  minute 
detail  shown  in  every  foot  of  the  great  production 
this  criticism  becomes  a  valued  compliment. 

The  film  opens  with  the  conqueror  on  his  twen- 
tieth birthday,  and  briefly  follows  him  through  his 
acquaintance  with  pretty  Cornelia,  daughter  of 
Lucius  Cinna;  their  secret  marriage,  which  incurs 
the  wrath  of  Sulla,  then  Dictator  of  Rome;  the 
annulment,  and  Caesar's  exile. 

George    K  I  e  i  n  e's     Cycle 
Page  sixteen 


The  Eternal  City  does  not  again  hear  of  him 
until  twenty  years  later,  when  he  returns  at  news 
of  Sulla's  death  and  plunges  briskly  into  the  cam- 
paign for  the  Consulship.  In  this  he  is  aided  by 
Calpurnia,  daughter  of  the  wealthy  Piso.  His 
marriage  to  Calpurnia,  election  to  the  consulship 
and  historic  quarrel  with  Cato,  the  younger,  are 
vividly  told.  His  political  alliance  with  Pompey 
to  fortify  himself  against  the  attacks  of  Cato, 
which  later  developed  into  the  first  triumvirate, 
consisting  of  Pompey,  Crassus  and  himself;  and 
his  surrender  of  the  hand  of  Julia,  his  daughter 
by  marriage  with  Cornelia,  to  Pompey  to  further 
cement  that  alliance,  are  portrayed  with  an  ac- 
curacy that  gives  one  a  pleasing  glimpse  into  the 
intimate  social  and  political  life  of  the  day. 

From  this  point  on  the  story  deals  with  the  rest- 
less political  ambitions  of  the  conqueror  and  his 
great  military  triumphs.  His  campaign  in  Gaul, 
waged  with  characteristic  vigor,  sweeping  to  de- 
struction the  formidable  tribes  headed  by  Vercin- 
getorix  in  a  series  of  the  most  brilliant  battles  re- 
corded in  history,  and  his  triumphant  return  to 
Rome,  follow  in  due  historic  order.  The  gather- 
ing of  the  Gauls  to  resist  him,  their  weird  re- 
ligious ceremonies  and  their  peculiar  manners  of 
life  are  as  faithfully  pictured  as  the  scant  records 
of  this  almost  unknown  race  permit. 

Meanwhile  Pompey  grows  jealous  of  the  con- 

0  f    Film     Classics 

Page  seventeen 


queror's  ever-increasing  power  and  stirs  up  the 
senate  against  him,  citing  the  Roman  law  that  no 
man  may  become  proconsul  and  retain  military 
command.  Marc  Antony  warns  Caesar,  at  Re- 
venna,  of  what  he  may  expect  in  Rome,  while 
Marcus  Brutus,  nephew  of  Cato,  visits  Caesar 
with  the  senate's  dictum.  And  Caesar,  placing 
the  matter  squarely  before  his  soldiers  and  re- 
ceiving their  answer,  "JFithoiit  Caesar  there  is  no 
Rome,"  orders  his  troops  across  the  Rubicon.  The 
senate  declares  him  a  traitor,  but  the  populace 
hails  him  with  acclaim  and  ceremony. 

Then  the  struggle  for  the  mastery  of  the  world 
begins.  Caesar  robs  the  Temple  of  Saturn  to 
secure  money  for  his  troops  and  pursues  Pompey 
to  Pharsalus,  where  a  desperate  battle  takes  place, 
resulting  in  the  annihilation  of  Pompey's  army 
and  the  flight  of  its  leader  into  Egypt.  Back  to 
Rome  goes  victorious  Caesar  to  fight  no  more  and 
to  be  made  Dictator  for  life! 

In  44  B.  C,  Julius  Caesar,  now  fifty-six  years 
old,  settles  down  to  the  administration  of  justice 
with  a  temperance  and  wisdom  mellowed  by  age 
and  experience.  But  his  old  enemy,  Cato,  still  in- 
tent upon  the  Dictator's  destruction,  hatches  a  con- 
spiracy in  which  he  and  Brutus  are  the  ring 
leaders.  When  veiled  rumors  of  this  reach 
Caesar  he  refuses  to  affront  the  dignity  of  the 
senate  with  armed  guards,  and  one  day  permits 

George    K  I  e  i  n  e's     Cycle 
Page  eighteen 


the  opening,  long  watched  for  by  the  conspirators. 
Brutus  touches  him  upon  the  shoulder,  and  the 
next  second  a  knife  flashes  in  the  air.  Caesar 
reels,  the  target  of  a  dozen  blows :  ''And  thou,  too, 
Brutus  f     Then  fall  Caesar!" 

Pandemonium  reigns!  The  city  is  aflame  with 
riot  and  murder.  Marc  Antony,  concluding  his 
oration  in  the  market-place,  smiles:  "Mischief, 
thou  art  afoot,  take  thou  what  course  thou  wilt!" 


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Page  nineteen 


Antony  and  Cleopatra 

Period    about    41    B.C.      Photographed    at    Rome,    Italy,    and 
Alexandria,  Egypt.     Time  required  to  sho=iv,  2  hours. 


OW  I  wish  I  had  beside  me  as  I 
write  the  magic  cup  of  Nektane- 
bus,  and  that  the  marvellous 
chalice  could  bring  before  me  the 
Alexandria  and  the  Rome  of  *An- 

tony    and  Cleopatra!'"  exclaims 

James  S.  McQuade  in  the  opening  of  his  review 
in  the  Moving  Picture  World.  "I  wish  I  could 
bring  those  august  personages  before  me,  and  the 
days  of  courtly  revel  and  the  pageantry  that 
marked  their  royal  love !  And  the  great  sea  fight 
at  Actium  that  tolled  the  knell  of  the  long,  last 
sleep  of  the  lovers  in  that  magnificent  mausoleum 
in  the  Bruchium !  But  I  am  consoled  for  lack  of 
the  treasured  vessel  by  the  presence  of  a  more  po- 
tent and  wondrous  agency — the  moving  picture — 
which  in  the  able  hands  of  the  master  picture- 
maker  has  created  anew  with  remarkable  fidelity 
the  scenes  and  peoples  of  two  thousand  years  ago." 
"Antony  and  Cleopatra"  is  third  in  the  list  of 
George  Kleiners  Cycle  of  Film  Classics.  In 
physical  size  it  ranks  with  the  largest,  requiring 
about  two  hours  to  unfold. 

Anthony  Novelli,  who  has  been  frequently  re- 
ferred to  as  the  Faversham  of  Europe,  and  who 


Page  twenty-one 


handles  the  roles  of  VInitius  in  "Quo  Vadis?" 
and  Julius  Caesar  in  the  picture  of  that  name, 
plays  the  redoubtable  Antony,  His  performance 
as  the  famous  Roman  warrior  has  been  hailed  as 
a  work  of  infinite  genius.  The  grace  and  elegance 
of  the  suave  Antony  of  the  oration  and  the  fiery 
passions  of  the  lover  Antony  are  portrayed  with 
a  skill  possible  only  to  the  temperament  and  tra- 
ditions of  artistic  Italy. 

"Antony  and  Cleopatra"  was  made  with  a  fit- 
ting sense  of  its  importance  as  a  classic.  More 
than  seventy-five  hundred  persons  participate  in 
the  great  scenes  of  the  drama,  which  themselves 
are  unrivaled  for  barbaric  splendor  and  lavish- 
ness  of  costume.  The  action  of  the  story  is  di- 
vided almost  equally  between  Rome  and  Alexan- 
dria, and  in  addition  to  the  many  beautiful  scenes 
in  Rome  are  added  the  splendors  of  Cleopatra's 
court,  which  with  its  curious  manners  of  life  and 
unique  architecture  contrast  delightfully. 

The  story  itself  is  remarkably  strong  and  hu- 
man. The  world-old,  ever-new  tragedy  of  An- 
tony, whose  infatuation  for  the  beautiful  Cleo- 
patra changed  the  boundaries  of  modern  Europe 
and  altered  the  history  of  Christendom,  is  told 
with  force  and  vigor. 

Marc  Antony  lands  his  army  on  the  banks 
of  the  Cidnus  River  and  consents  to  receive  mes- 
sengers from  Cleopatra  who  have  come  to  explain 
some  recent  depredations  on  Roman  borders.  Not 

George     K  I  e  i  n  e's     Cycle 
Page  twenty-two 


content  with  their  apologies  and  promises,  Antony 
haughtily  demands  that  Cleopatra  herself  visit 
him  and  make  her  explanation  in  person. 

When  this  message  is  received  in  Alexandria, 
the  beautiful  Cleopatra  at  first  indignantly  refuses, 
and  then,  on  the  advice  of  a  court  astrologer,  who 
predicts  her  absolute  domination  over  Antony, 
goes  in  grand  state  to  his  camp  on  the  Cidnus. 

And  thus  these  two  mighty  figures  in  world  his- 
tory met  for  the  first  time  since  childhood.  And 
when  Cleopatra  returned  to  Alexandria,  three 
days  later,  with  Antony's  promise  to  visit  her,  the 
doom  of  Egypt  was  forever  sealed  and  the  Tri- 
umvirate of  Rome  tottered  to  destruction. 

To  enslave  Antony  proves  an  easy  task.  Tired 
of  his  years  of  war  and  hardship,  the  mighty 
Roman  falls  easily  into  the  voluptuous  ease  that 
ever  reigns  in  the  Palace  of  the  Ptolemies,  and  the 
days  speed  by  amid  the  caresses  of  Cleopatra  and 
the  ephemeral  triumphs  of  royalty. 

One  year  later,  in  Rome,  Octavia,  disconsolate 
wife  of  Antony,  grieves  for  his  absence  and  con- 
fides her  sorrow  to  her  brother,  Octavius.  He 
advises  her  to  set  off  for  Egypt  and  reconquer 
Antony  for  herself  and  for  Rome.  Accordingly, 
Antony  is  amazed  by  her  sudden  appearance  in 
Alexandria  and  angrily  orders  her  to  return.  Be- 
fore leaving  Octavia  calls  on  Cleopatra,  from 
whom  she  receives  nothing,  however,  but  contempt 
and  scorn. 

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Page  twenty-three 


Meanwhile  Charmlan,  a  slave  of  Cleopatra, 
trespasses  In  the  Royal  Gardens,  Is  rebuked  by  an 
Egyptian  noble  and  saved  from  punishment  by 
Antony.  Several  days  later  the  Egyptian  gentry, 
restive  'neath  the  sway  of  the  mighty  Roman,  call 
upon  Cleopatra  and  ask  that  she  rid  the  nation 
of  his  presence.  Her  reply,  '7  avi  thy  ruler, 
dogs!  Say  no  more  or  I  will  have  rid  of  thee 
instead!"  results  in  a  plot  to  murder  Antony.  This 
Is  overheard  by  Charmlan,  who  Is  captured  and 
thrown  Into  a  dungeon  to  perish.  By  an  act  of 
extreme  cunning  she  escapes  and  flies  to  Cleo- 
patra, who  arrives  at  Antony's  bedside  In  time 
to  save  him.  The  conspirators  are  promptly 
executed.  The  following  morning  Antony  gently 
kisses  Charmian,  who  immediately  falls  upon  her 
knees,  declaring  her  love  for  him.  Cleopatra, 
listening  behind  a  drapery,  orders  her  publicly 
flogged,  and  then,  In  a  moment  of  demoniacal 
rage,  has  her  thrown  to  the  crocodiles.  Thus  did 
this  queen  defend  her  love. 

Insulted  and  rejected,  Octavia  returns  to  Rome 
and  narrates  to  some  senators  how  Antony  has 
cast  her  off.  Indignation  runs  high,  and  the  Sen- 
ate Is  convened  to  sit  In  judgment  upon  him.  A 
decree  is  passed,  branding  him  a  traitor  to  his 
country,  and  an  emissary  Is  despatched  to  Alex- 
andria to  acquaint  him  with  the  edict.  The  sol- 
dier delivers  his  message  In  rough  language,  and 

George    K  I  e  in  e's     Cycle 
Page  twenty-four 


Antony,  with  his  arm  about  Cleopatra,  smiles  sa- 
tirically as  he  replies:  "Get  thee  back  to  Rome  and 
tell  that  child  who  calls  himself  Octavius  that  thou 
hast  insulted  me,  and  I  troubled  not  to  slay  thee!" 

War!  A  vast  flotilla  of  boats  carrying  the  pick 
and  flower  of  Roman  soldiery  under  command  of 
Octavius  sets  sail  for  Alexandria.  Landing  on 
Egyptian  soil,  the  army,  by  forced  marches,  comes 
to  the  very  walls  of  the  imperial  city.  In  the  pal- 
ace of  the  Ptolemies  Antony  daily  sits  upon  the 
throne  and  spends  the  nights  in  sensual  orgies,  lit- 
tle heeding  the  sword  of  Damocles  so  soon  to  fall. 
In  one  of  the  great  rooms  of  the  palace  a  majestic 
fete  is  in  progress  when  suddenly  a  disheveled, 
terror-maddened  slave  bursts  into  the  center  of 
the  room,  screaming,  "The  Romans!  The  Rom- 
ans!" Soldiers  seize  their  weapons  and  run  aim- 
lessly hither  and  thither  The  great  hall  is  the 
scene  of  indescribable  confusion — the  scene  of  a 
panic-stricken  multitude  who  fly  to  the  defense  of 
Alexandria. 

Then  followed  a  most  memorable  battle.  An- 
tony fought  nobly  but  despairingly.  The  troops 
of  Octavius  tore  down  the  great  walls  amid  a  hail 
of  rocks  from  above;  they  drove  back,  from  their 
own  boats,  wild  hordes  of  desperately  fighting 
Egyptians.  The  city  became  a  great  blaze  of 
flame  as  the  Romans  cut  their  way  through  the 
thickly  massed  natives  onto  the  steps  of  the  Royal 
Palace  and  into  the  sacred  precincts  of  the  throne 

of    Film     Classics 

Page  twenty-five 


itself.  The  city  gates  were  thrown  open  and  the 
frantic  populace  poured  from  them  like  water 
down  a  mill-race. 

And  then  Antony,  realizing  that  all  is  lost, 
rushes  into  an  apartment  accompanied  only  by  a 
faithful  henchman.  Turning  roughly  upon  his 
servant  he  cries,  "Come,  craven,  draw  thy  sword 
and  slay  me,  and  thou  shalt  he  the  most  talked  of 
man  in  Rome!"  But  the  servant,  baring  his 
blade  replies:  "Nay,  master,  that  I  cannot  do! 
See!  Let  thy  faithful  servant  show  thee  how  to 
die!"  With  which  he  buries  his  sword  in  his 
heart.  In  another  instant  Antony's  weapon  is  out 
of  its  scabbard  and  deep  in  his  own  vitals.  Thus 
dies  a  mighty  warrior.  And  Cleopatra,  running 
in  from  an  adjoining  room,  throws  herself  upon 
the  body  of  Antony  and  weeps  for  the  only  true 
love  she  had  ever  known. 

Octavius,  the  victor,  orders  solemn  obsequies 
in  honor  of  the  dead,  while  the  fertile  mind  of 
Cleopatra  turns  quickly  to  a  means  of  safety  for 
herself.  Accordingly,  when  Octavius  waits  upon 
her,  she  tries  the  old  wiles  that  succeeded  so  well 
with  Antony.  But,  alas  !  the  stony  heart  of  Caesar 
knows  no  relenting.  He  shakes  her  off  and  bids  her 
prepare  to  accompany  him  to  Rome  as  his  slave. 
He  leaves,  and  Cleopatra,  falling  back  upon  a 
divan,  sees  a  vision  of  Caesar's  royal  entry  into 
Rome  with  herself  in  chains,  bound  to  the  wheels 
of  his  chariot,  the  great  temples  and  buildings  of 


George     K  I  e  i  n  e's     Cycle 
Page  twenty-six 


the  eternal  city  alive  with  tens  of  thousands  of 
hooting,  jeering  Romans  who  shout  their  impre- 
cations at  her  as  she  passes. 

Cleopatra  leaps  to  her  feet,  the  vision  fades, 
and  she  hurries  to  the  old  soothsayer  in  search  of 
death.  Three  poisons  are  given  her,  and  Cleo- 
patra holds  court  for  the  last  time.  A  slave  is 
pushed  forward,  takes  the  poison  and  dies  in 
frightful  agony.  A  second  slave  takes  from  the 
hand  of  an  attendant  another  poison  and  stiffens 
with  keen  torture,  reeling  backward  into  the 
midst  of  the  assembled  court.  Cleopatra  shud- 
ders and  calls  for  the  asp.  The  fangs  of  the  ser- 
pent sink  into  the  arm  of  a  third  slave,  and  he 
dies  so  calmly  that  Cleopatra  is  constrained  to 
ask:  "Slave,  is  death  coming?"  A  slow,  medita- 
tive smile  overspreads  the  features  of  the  beau- 
tiful queen.  She  turns  away  with  an  imperious 
gesture,  motioning  the  slave  bearing  the  asp  to 
follow.  Into  an  adjoining  room  goes  the  stately 
figure.  The  slave  sets  the  basket  of  fruit  at  her 
elbow  and  silently  withdraws.  An  instant  later  a 
Roman  soldier  brusquely  enters  and  lays  before 
her  a  tablet  from  Octavius.  It  is  her  death  sen- 
tence, and  she  knows  it.  From  the  basket  of  fruit 
she  plucks  the  serpent  and  applies  it  to  her  breast, 
musing  the  while:  "Yea,  Caesar,  thou  hast  con- 
quered, hut  in  thy  triumph  Cleopatra  shall  not 
walk.  This  only  doth  Egypt  ask  of  Caesar — 
that  he  sufer  her  to  lie  in  the  tomb  of  Antony. 
Farewell/" 

of    Film     Classics 

Page  twenty-seven 


4C 


Quo  Vadis" 


Period  about  54-68  A.D.     Photographed  at  Rome,  Italy.    Time 
required  to  shoiu,  2  hours. 


NE  speaks  of  "Quo  Vadis?"  with 
a  reverence  born  of  its  strong  re- 
ligious motif  and  its  extraordi- 
nary traditions.  In  point  of  spec- 
tacle it  has  had  rivals.  "Julius 
Caesar"  surpasses  "Quo  Vadis?" 
in  spectacular  grandeur  and  immensity  of  ensem- 
ble, but  in  the  other  important  essentials  of  the 
master  picture,  in  its  gripping  interest,  it  remains 
to-day  in  the  lofty  niche  of  fame  that  has  ever 
been  its  own. 

"Quo  Vadis?"  is  unique  in  that  it  was  the  first 
of  the  great  line  of  classics  that  later  sprang  from 
its  success.  At  the  time  of  its  advent  the  motion- 
picture  industry  had  not  progressed  far  beyond 
the  stage  of  tawdry,  cheaply  constructed  one-  and 
two-reel  pictures,  and  thus  the  announcement  of 
this  mighty  production,  eight  times  the  usual  size, 
employing  thousands  of  people  in  its  greatest 
scenes,  and,  above  all,  founded  on  one  of  the  best- 
known  novels  in  existence,  came  as  a  sudden  and 
complete  surprise  and  swept  the  civilized  world  as 
no  other  motion  picture  had  ever  done  before. 

"Quo  Vadis?"    revolutionized  all  former  no- 


Fage  twenty-nine 


tions  of  the  scope  and  power  of  the  moving  pic- 
ture. Tens  of  thousands  of  converts  to  the  cause 
of  better  films  were  made  directly  by  it.  Big  the- 
atres in  every  country  swarmed  with  these  en- 
thusiasts, w^ho  voiced  their  praise  in  no  uncertain 
terms. 

Quickly  it  became  the  sensation  of  the  hour,  at- 
tracting to  the  standard  of  the  film  legions  of 
thoughtful  persons  who  saw  in  it  their  first  motion 
picture,  and  who,  furthermore,  were  thus  given 
their  first  insight  into  the  future  possibilities  of 
this  latest  art. 

"Quo  Vadis?"  is  founded  on  the  novel  by 
Henryk  Sienkiewicz  and  faithfully  follows  the 
thread  of  his  beautiful  story.  In  this  production 
Anthony  Novelli  made  his  initial  bow  as  Vinitius, 
interpreting  both  the  hasty  pagan  warrior  whose 
fiery  passions  brooked  no  restraint,  and  the  chas- 
tened, prayerful  Christian  with  an  artistry  of  de- 
lineation that  won  him  world-wide  laurels.  Nero, 
"pitilessly  cruel  and  inordinately  vain,"  is  the 
work  of  Signer  C.  Cattaneo,  who  was  especially 
selected  for  this  difficult  role  because  of  his  un- 
usual physical  resemblance  to  the  emperor  and  his 
established  fame  as  an  artist.  This  applies  with 
equal  force  to  Petronius,  that  extraordinary  char- 
acter who  was  patrician,  courtier,  leader  of 
fashion,  and  withal  a  fair  representative  of  the 
man  of  culture  of  his  day. 

George     K  1  e  i  n  e's     Cycle 
Page  thirty 


The  story  is  laid  in  Rome  during  the  reign  of 
Nero,  last  of  the  Caesars.  Knowing  neither  hon- 
or nor  morality  he  ruled  an  aboslute  despot  sur- 
rounded by  courtiers  who  feared  and  flattered 
him  in  the  desperate  contest  for  his  favor. 

The  opening  scene  pictures  the  interior  of  the 
luxurious  baths  of  Petronius,  one  of  Nero's  fa- 
vorites, a  dandy,  nicknamed  "Arbiter  eleganti- 
arum."  Petronius  is  being  groomed  by  several  of 
his  slaves,  when  the  arrival  of  Vinitius,  his 
nephew,  is  announced.  Vinitius  tells  Petronius  of 
his  love  for  Lygia,  the  beautiful  ward  of  Aulus 
Plautius,  a  Roman  general  who  had  secretly  be- 
come a  Christian.  Petronius  offers  to  gain  the 
assistance  of  the  Emperor  in  behalf  of  his  nephew. 

His  efforts  do  not  prove  in  vain.  The  next  day 
Lygia  is  taken  from  her  guardians  by  order  of 
Nero  and  placed  in  the  care  of  Actea,  a  lady  of 
influence  at  the  Royal  Palace.  The  old  general 
and  his  wife  are  greatly  grieved  at  her  departure, 
but  are  consoled  by  the  fact  that  she  is  accom- 
panied by  Ursus,  her  giant  slave,  devoted  and 
watchful. 

The  following  evening  Nero  gives  a  magnifi- 
cent banquet  at  his  palace.  Lygia  and  Actea  at- 
tend, and  there  meet  Vinitius  and  Petronius  amid 
the  gay  throng.  Only  the  richest  viands  are 
served.  Sweet  strains  of  music  fill  the  air,  and 
roses  are  strewn  over  the  company.     Nero,  flat- 

0  /     Film     Classics 

Page  thirty-one 


tered  by  his  courtiers,  rises  to  sing  his  hyhin  to 
Venus. 

Vinitius,  having  indulged  too  freely,  makes  vio- 
lent love  to  Lygia,  and  suddenly  the  giant  Ursus 
appears  to  rescue  her.  Sending  Vinitius  sprawl- 
ing into  a  corner,  he  picks  up  Lygia  as  he  would  a 
child  and  carries  her  away  to  Actea,  who  counsels 
Lygia  not  to  flee  from  the  palace,  which  would 
incur  the  wrath  of  Nero. 

The  next  evening,  Vinitius  sends  his  freedman, 
Aticinus,  to  bring  Lygia  to  his  house,  but  upon  the 
return  journey  Ursus  intercepts  the  litter  in  which 
Lygia  is  riding,  and  after  rescuing  his  mistress  dis- 
appears with  her  into  a  remote  part  of  the  city. 

Vinitius  then  employs  Chilo,  the  soothsayer  and 
spy,  to  find  Lygia.  After  a  long  search  Chilo 
learns  that  Lygia  and  Ursus  worship  with  the 
Christians  at  Ostranium,  not  far  from  Rome. 

Vinitius  immediately  sets  out,  accompanied  by 
Chilo  and  Croton,  a  huge  gladiator,  to  take  pos- 
session of  Lygia  by  force.  They  discover  Lygia 
and  Ursus  at  Ostranium,  and  when  they  are  re- 
turning homeward  by  separate  ways  Croton  at- 
tacks Ursus,  while  Vinitius  attempts  to  seize 
Lygia.  But  the  gladiator  Croton  meets  a  terrible 
death  at  the  hands  of  Ursus,  who  then  rushes  to 
rescue  Lygia  from  Vinitius  and  is  about  to  slay 
the  latter  when  his  mistress  commands  him  to  be 
merciful. 

George    K  I  e  in  e's    Cycle 
Page  thirty-two 


Vinitius  is  carried  to  their  dwelling,  where,  un- 
der the  tender  care  of  Lygia,  he  soon  recovers 
from  his  injuries.  He  begs  Lygia  to  forgive  him 
and  agree  to  marry  him,  but  she  flees  from  his 
passionate  words  of  love. 

A  magnificent  banquet  is  given  upon  the  Pond 
of  Agrippa  in  honor  of  Nero.  After  partaking 
plenteously  of  the  most  costly  viands  and  wines, 
the  guests  are  invited  by  Nero  to  roam  in  the  gar- 
dens and  groves,  Vinitius  among  them.  He  is  a 
great  favorite  among  the  ladies  of  the  Court,  and 
even  Poppaea,  the  Empress,  meeting  him  in  the 
garden,  makes  violent  love  to  him.  Vinitius  re- 
pels her  advances. 

One  day  the  prophet  Chilo  whispers  that  he 
has  again  discovered  the  whereabouts  of  Lygia. 
Vinitius  accompanies  Chilo  to  the  house,  where  he 
finds  the  Apostle  Peter  with  a  small  band  of  Chris- 
tians. He  tells  them  that  he  desires  to  marry 
Lygia  and  will  accept  Christianity.  Lygia  then 
appears,  and  the  Apostle  blesses  their  love. 

Vinitius  now  returns  home,  and  in  his  new  spirit 
of  happiness  frees  all  his  slaves.  Petronius  coun- 
sels him  to  join  Nero's  Court,  which  has  removed 
to  Antrium,  a  short  distance  from  Rome. 

Here,  feasting  and  revelry  take  place,  and  Nero 
indulges  to  his  heart's  desire  in  all  the  excesses 
of  his  luxurious  Court.  He  is  intensely  fond  of 
poetry  and  song  and  devotes  much  of  his  time  in 

of    Film     Classics 

Page  thirty-three 


pursuit  of  these.  But  he  still  yearns  for  some  sub- 
ject to  give  him  inspiration  for  much  greater 
work,  and  it  is  suggested  by  Tigellinus  that  he 
might  care  to  behold  Rome  in  flames. 

And  it  is  not  long  afterwards  that  a  messenger 
enters  Nero's  presence  with  the  words,  "Rome  is 
hurtling !"  to  which  the  Emperor  answers  in 
ecstasy,  "Ye  gods  on  high  Olympus!  To  see  a 
burning  city!    To  write  my  Iliad!" 

The  whole  city  is  now  seen  a  mass  of  flames.  It 
glows  like  a  great  furnace  and  illuminates  the  sky 
for  miles  around.  Thousands  of  unfortunate  peo- 
ple perish,  and  others  rush  through  the  crowded 
streets  in  the  frantic  struggle  for  safety. 

In  order  to  obtain  a  better  view  of  the  perish- 
ing city,  Nero  journeys  close  by  accompanied  by 
his  courtiers.  At  a  safe  distance  he  goes  out  upon 
a  balcony  and  gazes  at  the  all-consuming  con- 
flagration. At  last  he  can  gratify  his  desire  to  be- 
hold a  great  city  in  flames!  The  Emperor  raises 
his  voice  and  sings,  accompanying  himself  upon  his 
lute. 

When  the  flames  are  finally  extinguished,  the 
Roman  people,  reduced  to  great  want,  cry  loudly 
for  vengeance.  Many  angrily  accuse  Nero  him- 
self of  the  crime.  Shouts  of  "Matricide!"  "In- 
cendiary!" fill  the  air.  Greatly  alarmed,  the  Em- 
peror gladly  embraces  the  suggestion  of  the  false 
Chilo,  seconded  by  Tigellinus,  that  the  Christians 

George    K  I  e  i  n  e's     Cycle 
Page  thirty-four 


are  the  real  culprits,  and  a  general  arrest  of  them 
takes  place,  among  them  Lygia  and  Ursus. 

A  great  series  of  spectacles  is  now  arranged  in 
the  amphitheatre.  Exciting  chariot  races  and 
gladiators  engaged  in  mortal  combat  entertain  the 
people.  Then  the  Christian  martyrs — men, 
women  and  children — are  driv^en  into  the  arena, 
after  which  the  lions  are  turned  in  upon  them. 

Vinitius  and  Petronius  are  in  the  Emperor 
Nero's  box;  the  former  can  hardly  restrain  his 
anxiety  over  what  fate  shall  befall  Lygia.  Sud- 
denly a  huge  bull  dashes  into  the  arena  with  the 
body  of  a  woman  lashed  to  its  back.  "Lygia! 
Lygia!"  cries  Vinitius  in  anguish,  his  arms  out- 
stretched on  high^  "I  believe,  Oh  Christ,  I  be- 
lieve, a  miracle!  I  pray  a  miracle!" 

While  the  infuriated  animal  rushes  about  the 
arena  an  extraordinary  thing  occurs.  A  giant  ad- 
vances toward  the  beast.  It  is  Ursus.  Seizing 
the  animal  by  the  horns  man  and  beast  become  en- 
gaged in  a  terrific  struggle. 

Suddenly  a  great  cry  escapes  the  spectators.  As 
in  a  dream  they  see  the  head  of  the  infuriated 
bull  twisted  under  the  iron  hand  of  the  barbarian; 
the  beast  is  thrown,  its  neck  broken,  and  Ursus 
lifts  Lygia  in  his  arms,  walks  to  the  Royal  box 
and  begs  clemency  of  Nero. 

Amid  the  frenzy  and  uproar  of  the  spectators 
Vinitius  makes  a  desperate  leap  into  the  arena. 
Baring  his  breast  he  discloses  the  scars  received 

of    Film     Classics 

Page  thirty- five 


in  the  Armenian  wars  and  pleads  to  Nero  for  the 
life  of  Lygia.  Fearing  a  more  furious  outbreak 
from  the  populace,  Nero  scornfully  upturns  his 
thumb,  the  sign  of  grace,  and  Lygia  is  borne  out 
of  the  arena  by  Ursus  and  Vinitius. 

About  that  time,  on  the  Appian  way,  are  seen 
two  figures  leaving  Rome,  the  Apostle  Peter  and 
Nazarius.  Suddenly  a  vision  appears  before 
Peter,  and  he  looked  with  wonder  upon  the  figure 
of  Christ. 

In  a  broken  voice  Peter  exclaims :  "Quo  Vadis, 
Dominef"  {Whither  goest  Thou,  O  Lord?)  and 
receives  answer:  "Shouldst  thou  abandon  My 
people,  I  will  go  to  Rome  to  be  crucified  again." 
Rising  to  his  feet  with  bowed  head  Peter  and 
Nazarius  hasten  back  to  the  City  of  Seven  Hills. 

The  reign  of  Nero  now  comes  to  an  end.  The 
signal  of  revolt  is  given  and  the  legions  acclaim 
Galba  emperor,  while  Nero  seeks  safety  in  flight. 
He  learns  that  his  enemies  are  rapidly  closing  in 
upon  him  and  determines  to  take  his  own  life.  At 
the  critical  moment  his  courage  fails  him,  but  one 
of  his  followers  comes  to  his  aid  and  pierces  his 
heart  with  a  dagger. 

''So  passed  Nero  front  this  earth,  furious  as  the 
wind,  destructive  as  the  flame,  spreading  grief, 
agony  and  death  in  his  path,  but  out  of  the  blood 
and  tears  of  his  iniquity  there  arose  a  star,  a  guid- 
ing light,  emblematical  of  peace,  love,  life  and 
liberty." 

George    K  I  e  in  e's    Cycle 
Page  thirty-six 


Gentlemen: 

It  seems  to  me  that  everyone  interested  in 
Shakespeare's  play,  "Julius  Caesar,"  all  students 
of  Caesar's  Commentaries,  and  anyone  interested  in 
Roman  history  will  find  your  wonderful  film  of  great 
educational  value.  It  shows  us  in  an  astonishing  way 
the  details  of  Roman  life  of  the  period,  and  brings 
home  to  us  the  scenes  and  peoples  of  the  classic  as  no 
other  thing  has  been  able  to  do  since  the  development 
of  the  motion  picture. 

Very  truly  yours, 

PETER  REINBERG, 
President,  CHICAGO  BOARD  OF  EDUCATION. 
Chicago,  111. 
October  26,  1914. 


My  dear  Sir: 

It  was  a  great  pleasure  to  me  to  be  present  at  the 
exhibition  of  the  moving  picture  presentation  of 
"Julius  Caesar,"  on  December  9th,  at  the  University. 
The  selection  of  important  incidents  in  the  life  of 
Caesar  was  made  with  the  best  of  judgment.  Every  part 
was  most  excellent,  and  the  whole  presentation  was 
in  the  highest  measure  satisfactory. 

It  was  greatly  appreciated,  not  only  by  myself  and 
the  faculty  of  English,  but  by  the  student  body  itself. 
I  should  be  glad  if  all  the  students  in  all  the 
institutions  of  the  country  could  have  the  opportunity 
to  see  it. 

I  am. 

Very  truly  yours, 

S.  B.  McCormick, 
Chancellor,  UNIVERSITY  OF  PITTSBURGH. 
Pittsburgh,  Pa. 
December  15,  1914. 

of    Film     Classics 

Page  thirty-seven 


The  Last  Days  Of  Pompeii 

Period  about  79  A.D.     Photographed  at  Rome,  Italy.     Time 
required  to  shoiv,  I  hour  30  minutes. 


(On 

— " T\ 

^^^; 

^M 

IFTH  in  the  line  of  George 
Kleine's  Cycle  of  Film  Clas- 
sics, and  last  of  the  Roman  Era 
productions,  is  "The  Last  Days 
of  Pompeii,"  founded  on  Lord 
Bulwer's  story,  staged  at  Pompeii 
and  Turin,  Italy. 

No  other  novel,  with  the  exception  of  "Quo 
Vadis?"  has  received  such  elaborate  attention  at 
the  hands  of  the  picture  manufacturer.  Aside 
from  its  vast  cost  and  the  considerable  time  con- 
sumed in  its  staging,  the  subject  is  characterized 
throughout  by  a  minute  regard  for  the  details  of 
Lord  Bulwer's  novel.  Just  so  far  as  the  novel  is 
instructive  in  an  historical  sense,  so  can  the  film 
be  considered  a  faithful  reproduction  of  Pompeii 
of  79  A.  D.  The  producer  succeeded  nobly  in 
perpetuating  Lord  Bulwer's  idea  of  historical 
romance — that  is,  romance  interwoven  in  actual 
history.  Details  have  been  worked  out  with 
great  particularity.  It  is  antiquity  made  vi- 
vacioiis  and  all  but  modern.  One  might 
say  of  the  film  what  a  critic  remarked  of  the 
book,  that  "the  archaeology  of  'The  Last  Days 
of  Pompeii'  was   so   sound  that  visitors  assume 


Page  thirty-nine 


as  a  matter  of  course  the  genuine  identity  of  the 
houses  of  Diomed  and  Glaucus,  and  give  them- 
selves up  to  the  received  illusion  when  the  guide 
points  out  the  rich  form  of  Julia  impressed  on 
the  lava  walls  of  the  cellar  where  she  had  sought 
refuge." 

The  destruction  of  Pompeii  is,  however,  far 
more  impressive  In  film  than  it  could  ever  be  on 
paper.  The  mad  scurryings  of  demented  thou- 
sands amid  a  hail  of  smoking  cinders  and  blasts 
of  flame;  the  falling  of  great  pillars;  the  collapse 
of  temples,  makes  one  feel  that  his  ears  ring  with 
the  shrieks  of  the  terror-maddened  multitudes  of 
the  stricken  city.  These  scenes  of  Pompeii's  last 
day  with  their  splendid  dramatic  effect  run  for 
more  than  fifteen  minutes,  a  thousand  feet  of  awe- 
inspiring  thrills. 

The  educational  value  of  "The  Last  Days  of 
Pompeii"  is  immeasurable.  The  beautiful.  Idle, 
slumbrous,  luxury-loving  life  of  the  doomed  city 
has  been  painted  with  a  master's  brush.  Every 
moment  has  Its  charm  hammered  home  with  a 
force  and  reality  peculiar  to  the  motion  picture. 

Glaucus,  an  Athenian  noble  living  in  Pompeii, 
falls  in  love  with  the  beautiful  lone,  whose 
brother,  Apaecides,  a  young  man  of  religious  na- 
ture. Is  the  pupil  of  Arbaces,  an  Eg\'ptian  priest 
of  Isis.  Arbaces  nourishes  an  intense  but  un- 
worthy affection  for  lone  and  plots  the  downfall 
of  his  rival,  Glaucus.     A  splendid  opportunity  is 

George    K  I  e  i  n  e's     Cycle 
Page  forty 


offered  him  when  Nydia,  a  blind  girl  who  has  been 
befriended  by  the  Athenian  and  loves  him  se- 
cretly, comes  to  the  Temple  of  Isis  in  search  of  a 
potion  which  will  cause  her  benefactor  to  recipro- 
cate her  love.  Arbaces  promises  to  provide  her 
with  the  potion  on  the  following  day. 

Meanwhile  Apaecides  has  detected  the  trickery 
of  Arbaces'  supposed  miracles  and  prepared  to 
denounce  the  Egyptian  and  expose  the  evil  rites 
of  Isis.  Arbaces  visits  a  witch,  who  dwells  in  a 
cave  on  the  side  of  Vesuvius,  and  who  is  noted  for 
her  ability  to  brew  the  most  deadly  poisons.  He 
has  little  trouble  in  persuading  her  to  give  him  a 
potion  which  "shall  sear  and  blast  the  brain  to 
make  Glaucus  idiot,  raving  mad,  while  yet  the 
heart  beats  on."  This  "love  potion"  he  gives  to 
Nydia,  who  mixes  it  with  water  and  causes  Glau- 
cus to  drink  it.  The  insane  man  rushes  through 
the  streets,  reeling  from  side  to  side. 

Fearing  Apaecides'  exposures  of  his  iniquities 
the  Egyptian  murders  him.  At  that  instant  the 
staggering  form  of  Glaucus  appears,  and  the  cun- 
ning Egyptian  sees  an  opportunity  to  prevent  sus- 
picion from  falling  upon  himself,  and  at  the  same 
time  to  make  his  revenge  upon  his  rival  more  ter- 
rible. He  seizes  the  muttering  Glaucus  and 
loudly  calls  for  aid.  Convicted  of  the  murder, 
Glaucus  is  condemned  to  die  in  the  arena. 

The  great  day  finally  arrives  and  the  mighty 
stands  are  crowded  with  people  in  holiday  attire, 

of    Film     Classics 

Page  forty -one 


ready  to  enjoy  the  unprecedented  spectacle  of  a 
patrician  thrown  to  the  Hons.  Nydia,  who  has 
guessed  the  truth,  and  who  has  been  locked  up  by 
Arbaces  to  prevent  her  from  telling  tales,  makes 
her  escape.  She  hurries  to  the  home  of  Sallust, 
Glaucus'  bosom  friend. 

The  great  spectacle  Is  at  its  height.  The  peo- 
ple have  howled  themselves  hoarse  with  delight 
at  the  gladiatorial  contests.  Now  they  are  yell- 
ing impatiently,  "Glaucus  to  the  lions!  Glaucus  to 
the  lions!"  Glaucus  is  thrust  into  the  arena,  and 
the  lions  freed  from  their  pens,  just  as  Sallust  and 
Nydia  arrive  with  proof  of  his  Innocence. 

At  that  Instant  the  skies  darken,  and  from  the 
distant  crater  of  Vesuvius  there  shoots  Into  the 
sky  a  shaft  of  hellish  light!  Hot  cinders  and 
boiling  lava  begin  to  descend  upon  the  town.  The 
people  are  crazed  with  fright  and,  panic-stricken, 
vainly  seek  safety  In  flight.  The  city  is  doomed. 
The  catastrophe  restores  the  demented  Glaucus 
to  reason.  Through  the  Stygian  darkness  Nydia, 
the  blind  girl,  who  needs  no  light  to  find  her  way, 
leads  him  to  the  house  of  lone.  On  the  way  they 
see  Arbaces  crushed  by  a  pillar  of  his  own  Idola- 
trous church. 

Then  Nydia  leads  lone  and  her  lover  to  the 
seashore,  and  when  they  are  safe  aboard  a  ves- 
sel throws  herself  into  the  waters  of  the  bay.  Her 
love-task  ended,  the  blind  girl  at  last  finds  the  rest 
she  seeks. 

George     K  I  e  i  n  e's     Cycle 
Page  forty-two 


Below  is  the  reproduction  of  a  letter  written  shortly  after 
release  of  "The  Last  Days  of  Pompeii,"  by  the  Marquis 
Guiccioli,  Gentleman  in  Waiting  to  the  Queen  Mother  of  Italy: 

Her  Majesty,  the  Queen,  would  like  to  have  an 
exhibition  of  the  moving  picture,  "The  Last 
Days  of  Pompeii,"  at  the  Royal  Castle  of  Stupinigi. 
Please  let  me  know,  if  it  is  possible,  what  evening 
would  be  most  convenient  for  you. 
With  my  best  regards, 

MARQUIS  GUICCIOLO, 
Gentleman  in  Waiting  to  the  Queen  Mother. 


My  dear  Mr.  Kleine: 

I  certainly  enjoyed  your  production  of  "The  Last 
Days  of  Pompeii."  It  is  a  triumph  of  motion  picture 
science.  The  student  who  knows  the  history  of  the 
times  can  behold  graphically  and  truthfully  the 
realization  of  the  history  of  that  early  period.   The 
expense  of  the  film  must  be  enormous,  but  the  beauty 
and  high  character  of  the  work  must  eventually 
recompense  the  producer. 

Yours  sincerely, 

DAVID  J.  MORAN, 
Pastor,  The  Church  of  St.  Peter. 

St.  Paul,  Minn. 
December  13,  1913. 


of    Film     Classics 

Page  forty-three 


Othello 


The  Moor  of  Venice 

Period   about   Fourteenth    Century.     Phntograplied   at    Venice, 
Italy.     Time  required  to  slioiv  I  hour  13  minutes. 


HIS  production  represents  the  first 
serious  attempt  to  film  the  famous 
Shakespeare  classic.  Incidentally 
it  is  the  first  of  Shakespeare's 
stories  to  be  filmed  in  its  proper 
environment  as  the  master  would 
have  wished.  Venice,  rendezvous  of  the  modern 
tourist,  the  very  fountain-head  of  romance  and 
adventure!  Its  historic  waterways  with  their 
tales,  ten  centuries  old,  of  passionate  loves  and 
fierce  vendettas,  its  aged  palaces  and  treasure 
stores  of  scenic  wonders  gave  of  its  best  for  the 
making  of  "Othello." 

Desdemona,  a  beautiful  and  high-born  Vene- 
tian lady,  is  wooed  and  won  by  Othello,  a  Moorish 
general  whose  dusky  skin  cannot  conceal  a  chival- 
rous and  adventurous  spirit  such  as  women  love. 
Desdemona's  father,  Brabantio,  learning  of  their 
secret  marriage,  is  much  incensed  and  goes  before 
the  Duke  of  Venice  and  complains  that  his  daugh- 
ter has  been  stolen  from  him.  It  so  happens  that 
Othello's  warlike  qualities  are  in  demand  upon  the 
very  night  in  which  these  affairs  culminate.     He 


Page  forty-five 


has  been  in  the  service  of  the  Venetian  govern- 
ment, and  the  State  now  requires  his  presence  in 
Cyprus  to  oppose  a  Turkish  fleet.  He  is,  there- 
fore, suffered  to  depart  in  peace  with  his  wife, 
Desdemona,  especially  since  she  in  the  Council 
Chamber  declares  her  love  and  confidence  in  him. 

lago,  an  officer  under  Othello,  has  sworn  secret 
enmity  against  his  master  because  the  Moor 
raised  Cassio  instead  of  himself  to  the  chief  lieu- 
tenancy. His  enmity  has  taken  the  form  of  care- 
fuly  laid  plots,  which  began  the  very  nuptial  night 
of  Othello. 

In  Cyprus,  where  Othello  and  his  train  repairs, 
the  plots  have  abundant  time  for  ripening.  A 
storm  has  wrecked  the  Turkish  fleet,  and  Othello 
remains  in  command  on  land  amid  a  general  rev- 
elry authorized  by  him  to  celebrate  the  destruc- 
tion of  the  enemy  and  in  honor  of  his  own  nup- 
tials. During  the  feast  lago  makes  Cassio  drunk 
and  involves  him  in  a  street  brawl.  Othello  ar- 
rives on  the  scene  and  deprives  the  ofl^cer  of  his 
lieutenancy.  lago  advises  Cassio  to  sue  for  favor 
and  restoration  of  his  rank  through  Desdemona, 
since  Othello  will  deny  her  nothing. 

Cassio,  unsuspicious  of  treachery,  obtains  an  in- 
terview with  Desdemona.  lago  lures  Othello  to 
the  scene,  innocent  enough,  but  greeted  with  an 
ominous  shake  of  the  head  by  lago.    Othello,  see- 

George     K  I  e  in  e's     Cycle 
Page  forty-six 


ing  the  gesture,  questions  his  ensign,  whereupon 
the  latter  instils  the  poison  of  jealousy  into  his 
master's  ears,  making  him  to  doubt  Desdemona's 
relations  with  Cassio;  the  doubt  intensifies  when 
the  lady,  in  the  kindness  of  her  heart,  intervenes 
for  Cassio,  Henceforward  lago  loses  no  oppor- 
tunity to  do  his  best  to  add  to  his  master's  jeal- 
ousy. He  procures,  by  stealth,  a  handkerchief, 
given  by  Othello  to  Desdemona,  and  causes  it  to 
be  found  in  Cassio's  possession. 

Othello  becomes  convinced  that  his  wife  has 
been  untrue  to  him.  He  determines  upon  her 
death  and  charges  his  supposed  friend,  lago,  with 
the  task  of  dispatching  Cassio.  Nothing  loath, 
lago  embroils  Cassio  in  a  night  combat  with 
Roderigo,  a  former  suitor  of  Desdemona,  entan- 
gled in  the  meshes  of  lago. 

Cassio  wounds  Roderigo.  lago  desires  the 
death  of  both,  and  so,  unseen,  stabs  Cassio. 
Meanwhile  Othello  goes  to  the  bed  chamber  of 
Desdemona  and  smothers  her  to  death.  Emilia, 
wife  of  lago  and  the  devoted  servant  of  Desde- 
mona, proves  to  Othello  that  his  wife,  whom  he 
has  just  murdered,  is  innocent.  lago  kills  Emilia. 
Othello  wounds  lago,  then  kills  himself.  Cassio, 
who  still  lives,  is  advanced  to  the  government  of 
Cyprus,  and  lago  is  reserved  for  a  lingering 
torture. 

of    Film     Classics 

Page  forty-seven 


The  Lion  Of  Venice 

Period  about  Fourteenth   Century.     Photographed  at  Venice, 
Italy.     Time  required  to  shoiv,  i  hour  30  minutes. 


HIS  production  takes  us  from  the 
stormy  days  of  the  Roman  Repub- 
lic to  Fifteenth  Century  Venice, 
Queen  of  the  Adriatic,  whose 
gondola-ridden  waters  are  scenes 
of  some  of  the  quaintest  stories 
in  any  language ! 

"The  Lion  of  Venice"  is  pure  romance  and,  un- 
like its  illustrious  predecessors  in  the  cycle,  has 
no  historic  basis  for  its  story.  It  is,  however, 
unsurpassed  even  by  "Julius  Caesar"  in  educa- 
tional value  and  has  many  conspicuous  features 
included  in  no  other  motion  picture. 

On  another  page  we  reprint  a  letter  addressed 
to  George  Kleine,  signed  by  Count  Grimani 
Mayor  of  Venice,  Italy,  the  burden  of  which  is 
"that  the  scenario  must  he  undersigned  by  an  emi- 
nent writer  of  Venetian  history  and  the  properties 
supervised  by  an  eminent  artist,  who  will  warrant 
the  artistic  value,  the  truthfulness  and  seriousness 
of  the  film,  the  execution  of  which  they  must  watch 
carefully." 

The  producers  complied  with  these  conditions 


Page  forty -nine 


and  put  up  a  heavy  bond,  after  which  the  wonder- 
ful museums  of  Venice  readily  yielded  their  best 
and  most  precious  treasures  to  the  making  of  "The 
Lion  of  Venice."  On  its  part  the  City  Council 
plunged  enthusiastically  into  the  spirit  of  the  en- 
terprise and  gave  much  assistance  voluntarily 
which  had  no  place  in  the  written  contract.  For 
instance,  the  Grand  Canal  was  closed  to  traffic  an 
entire  forenoon  so  that  no  suggestion  of  the  mod- 
ern could  mar  the  perfect  illusion  of  Venice  of  the 
Fifteenth  Century.  This  in  itself  was  a  great  con- 
cession, and  so  far  as  known  is  unprecedented  in 
the  records  of  the  city. 

A  type  of  gondola  used  during  the  period — 
many  specimens  of  which  are  preserved  in  the 
city's  museums — was  necessary  for  the  pictures. 
In  their  day  these  gondolas  were  called  bissones, 
and  by  the  richness  of  decoration  of  the  small, 
open  cabin  amidship  indicated  the  prominence  of 
the  patrician  family  to  which  the  vessel  belonged. 

Also  a  number  of  beautiful  pageants  are  shown, 
among  them  the  ceremony  of  the  Marriage  of  the 
Sea  and  the  installation  of  a  High  Admiral  of  the 
Navy  of  Venice.  The  latter  ceremonial  is  given 
in  its  entirety  and  was  reproduced  accurately  for 
the  moving  picture.  We  see  the  Doge  and  his 
Council  of  Ten  in  their  gorgeous  robes  of  office 
marching    out    of    the    beautiful    Church    of    St. 

George     K  I  e  i  n  e's     Cycle 
Page  fifty 


Mark's,  followed  by  high  municipal  and  other 
dignitaries.  To  their  left  as  they  march  with  rich 
display  of  office  insignias  is  the  noble  Ducal  Pal- 
ace with  its  magnificent  series  of  arches.  On  they 
pass  until  the  bank  of  the  Grand  Canal  is  reached, 
where  the  Doge  and  his  Council  board  the  bucin- 
toro,  the  great  and  elaborate  barge  of  State.  This 
vessel  is  rowed  majestically  to  the  mouth  of  the 
Canal  in  the  Adriatic,  accompanied  by  a  flotilla 
of  gaily  and  richly  caparisoned  bissones,  which 
rapidly  circle  the  slower-going  bucintoro. 

Aside  from  its  delightful  glimpses  of  Fifteenth 
Century  life,  the  story  possesses  rare  dramatic 
charm. 

Captain  Benito  Rienzi,  in  command  of  a  small 
fleet  of  Venetian  men-of-war,  is  sent  to  hold  the 
island  of  Cyprus  against  the  onslaughts  of  the 
Turkish  squadrons,  but  after  a  valiant  defense  is 
forced  to  give  way  and  put  back  to  Venice  for  re- 
inforcements. His  masterly  retreat  and  his  pres- 
ervation of  the  fleet  in  the  face  of  such  odds  wins 
him  almost  as  much  glory  as  a  victorious  battle, 
and  he  is  complimented  by  the  Doge  and  the  Coun- 
cil of  Ten,  the  highest  powers  of  the  republic. 

These  honors,  however,  are  meaningless  to 
Rienzi,  when  he  learns  that  during  his  absence  his 
sweetheart  Bianca,  has  been  forced  to  marry 
Count  Orsini  a  powerful  noble.     He  meets  her  at 

of    Film     Classics 

Page  fifty-one 


their  trysting  place,  the  famous  shrine  of  Our 
Lady  of  the  Waters,  and  there  she  tells  him  that 
although  her  heart  is  his  she  has  pledged  her  faith 
to  Orsini  and  that  she  will  be  true  to  her  vows. 

In  the  meantime  a  scapegrace  young  nobleman 
of  unsavory  reputation  has  been  unsuccessfully 
wooing  Adriane,  Rienzi's  sister,  and  unsuccessful 
in  his  attempts  to  win  her  by  flattery,  plans  an  ab- 
duction. Rienzi  discovers  the  plot  and  pursues 
the  would-be  kidnapper,  who  takes  refuge  in  a 
home  frequented  by  Orsini.  The  count  protects 
him  from  the  avenging  hand  of  the  incensed 
brother.  Orsini,  knowing  of  Rienzi's  love  for  his 
wife,  conspires  with  the  young  nobleman  to  bring 
about  the  captain's  downfall.  They  conceal  a 
forged  letter  in  his  apartments  and  denounce  him 
to  the  authorities  as  a  traitor  to  his  country.  His 
house  is  searched,  and  the  paper,  ostensibly  a  let- 
ter from  a  Turkish  commander  accepting  Rienzi's 
offer  to  surrender  the  Venetian  flotilla  to  the  Sul- 
tan, is  found.  He  is  arrested,  and  only  the  per- 
sonal intervention  of  the  Doge's  wife,  who  acts 
in  response  to  an  appeal  by  Adriane,  prevents  his 
execution.  The  disgrace  causes  the  death  of 
Rienzi's  mother,  and  he,  his  death  sentence  com- 
muted to  exile  from  Venice,  is  forced  to  leave  the 
country. 

Taking  his  sister  with  him,  Benito  joins  the  pi- 
rates of  Dalmatia,  who  have  risen  in  revolt  and 

George    K  I  e  in  e's     Cycle 
Page  fifty-two 


in  revenge  for  the  ungrateful  treatment  he  has 
sustained  at  the  hands  of  Venice  determines  to 
lead  her  enemies  against  her.  Adriane,  still  loyal, 
begs  him  not  to  turn  his  hand  against  the  flag  of 
his  country,  but  he  will  not  listen. 

News  of  Rienzi's  connection  with  the  rebellious 
pirates  is  carried  to  Venice,  and  a  price  is  set  upon 
his  head.  Learning  of  this,  Bianca  hopes  to  win 
him  back  to  loyalty,  and  to  this  end  sends  him  a 
banner  displaying  "The  Lion  of  Venice," 
which  she  has  embroidered  with  her  own  hands. 
The  bitter-hearted  Captain,  however,  refuses  to 
be  won  over.  He  throws  the  flag  aside,  but 
Adriane,  still  confident  of  changing  his  heart,  se- 
cretly takes  it  and  hides  it  in  the  hold  of  the 
pirate  ship. 

Meanwhile  Orsini,  Bianca's  husband  and  Be- 
nito's deadly  enemy,  has  been  placed  in  command 
of  a  great  squadron  sent  out  by  Venice  for  the 
double  purpose  of  destroying  both  the  Turkish 
fleet  and  the  pirate  vessels.  He  is  attacked  by 
a  giant  Turkish  armada,  whose  commander, 
knowing  of  Benito's  rebellion,  sends  to  invite  the 
pirate  vessels  to  participate  in  the  attack.  Benito 
gladly  accepts  and  puts  his  vessel  under  way. 
While  the  ship  is  headed  toward  the  hard-pressed 
Christian  fleet,  however,  Adriane  brings  the 
flag  of  Venice  from  the  hold  and  unobserved 
climbs  quickly  to  the  masthead.     There  is  a  mo- 

0  f    Film    Classics 

Page  fifty-three 


ment  of  silence  among  the  pirates  as  they  see  the 
waving  folds  of  the  National  emblem,  then  they 
break  into  a  hearty  cheer.  Rienzi  can  no  longer 
resist  the  call  of  flag  and  country.  With  a  shout 
he  urges  his  men  against  the  astonished  Turks. 
By  his  aid  the  fleet  of  Venice  emerges  from  the 
struggle  victorious,  and  Orsini,  mortally  wounded, 
confesses  the  plot  against  his  rival.  Then  with 
the  Crescent  banners  as  trophies  of  his  victory 
Benito  sails  back  to  Venice,  where  his  seeming 
treachery  is  explained  and  he  is  restored  to  rank 
and  honor.  And  Bianca,  freed  by  the  same  stroke 
that  took  her  husband's  life  in  battle,  is  waiting 
for  him  on  his  return. 


George    K  I e  in  e's    Cycle 
Page  fifty-four 


written  in  answer  to  a  request  for  permission  to  lay  the  scenes 
of  the  photodrama  in  the  canals  of  Venice,  amid  its  palaces,  and 
to  use  its  historic  gondolas  and  monuments. 

"In  order  that  the  Council  may  be  in  position  to 
pronounce  itself  on  the  matters  contained  in 
your   letter   of   the   30th,    it   is   necessary   that 
your  company  present  a  very  detailed  program  of  the 
film.      This  program  should  imply  the  Company's 
responsibility,    and  must  be  undersigned  at   least 
by  an  eminent  writer  of  Venetian  History  and  also 
by  an  eminent  artist  who  will  warrant  the  artistic 
value,   the  truthfulness  and  seriousness  of  the 
film,   the  execution  of  which  they  must  watch 
carefully.     When  the  Council  will  be  in  possession 
of  these  items  and  all  other  indications  regarding 
the  locality  and  the  hours  in  which  the  film  is 
to  be  made,    then,    only,    the   request   of  your 
Company  will  be  taken  into  consideration. 
With   regards, 

Signed  (Count  Grimani)," 

After  all  these  conditions  had  been  complied  with  and  a 
heavy  bond  put  up,  the  City  Council  of  Venice  entered  heartily 
into  the  proposition  and  gave  the  photo -players  cll  the  aid  it 
could,  providing  special  police,  stopping  all  traffic  on  the  Grand 
Canal,  and  loaning  many  rare  antiquities  from  its  museum  in- 
cluding the  historic  Bissones. 


/    Film    Classics 

Page   fifty-five 


Vanity  Fair 


with 

Mrs.  Minnie  Maddern  Fiske 

Period  modern.  Photographed  by  the  Thomas  A.  Edison  Co. 
in  its  Neiv  York  City  studios.  Time  required  to  shoin',  i  hour 
45  minutes. 

HE  eighth  and  last  production  in 
George  Kleine's  Cycle  of 
Film  Classics  is  a  rarely  beau- 
tiful and  worthy  effort  to  perpet- 
uate in  film  one  of  the  greatest 
characterizations  the  American 
stage  has  ever  known.  "Vanity  Fair,"  while  es- 
sentially a  story  film,  is  a  classic  of  the  first  mag- 
nitude, without  which  this  cycle  would  be  incom- 
plete indeed.  The  mere  announcement  that  Mrs. 
Minnie  Maddern  Fiske  portrays  her  historic 
"Becky  Sharpe"  is  suflicient  guarantee  of  the  ster- 
ling worth  of  the  production.  Mrs.  Fiske's 
"Becky,"  because  of  its  individuality  and  ingenu- 
ity of  characterization,  ranks  with  Edwin  For- 
rest's "Lear,"  Joseph  Jefferson's  "Rip  Van  Win- 
kle" and  Richard  Mansfield's  "Cyrano  de  Ber- 
gerac."  Those  splendid  figuies  of  the  stage  now 
live  only  in  the  memory  of  the  elder  generation  of 
playgoers.  Thus,  in  the  magic  of  the  film,  Mrs. 
Fiske's  "Becky"  is  preserved.  Mrs.  Fiske  played 
the  role  in  the  spoken  drama  precisely  one  thou- 
sand times. 

Page  fifty-seven 


"Vanity  Fair"  is  quite  the  most  elaborate  and 
pretentious  film  the  Edison  Studio  has  yet  made. 
It  is  the  only  one  of  American  manufacture  com- 
prised In  the  cycle,  a  distinction  to  Its  credit  in 
view  of  the  Anglo-Saxon  nature  of  the  Thackeray 
classic.  It  represents  a  considerable  investment 
of  money,  talent  and  energy,  and  occupied  a 
lengthy  period  in  manufacture.  The  task  of  visual- 
izing the  narrative,  was  certainly  one  of  the  most 
difficult  undertaken  In  the  history  of  the 
silent  drama.  To  present  a  physical  situation  Is  a 
simple  every-day  affair,  but  to  transfer  "Vanity 
Fair's"  rich  qualities  of  humor  and  satire  from 
the  printed  page  to  the  picture  screen  proved  a 
difficult  task  made  possible  only  by  the  indefati- 
gable work,  care  and  genius  of  Mrs.  Fiske  her- 
self. The  finished  product  will  stand  for  years 
to  come  as  a  remarkable  testimonial  to  the  his- 
trionic possibilities  of  the  motion  picture. 

The  ball  at  Brussels  on  the  eve  of  Waterloo  is 
an  unforgetable  scene.  The  home  of  the  Sedleys 
and  Osbornes,  "Queen's  Crawley,"  the  incidents 
at  Brussels  and  Gaunt  House ;  George  Osborne, 
Jos.,  Miss  Crawley,  the  Major  and  the  Colonel, 
Lord  Steyne  and  Becky  are  unique  characters 
which  will  forever  stand  in  the  foremost  rank 
of  English  literature.  The  variety  of  character, 
intense  realism,  profusion  of  wit,  humor  and  in- 
vention, all  essentials  of  the  model  romance,  are 
found  in  the  picture  version  of  "Vanity  Fair." 

George     K  I  e  i  n  e's     Cycle 
Page  fifty-eight 


How  You    Can   Exhibit  George 
Kleine's  Cycle  of  Film  Classics 


C3 


E  have  worked  out  three  plans  by  which  societies, 
organizations  and  institutions  of  various  kinds  may 
view  GEORGE  KLEINE'S  CYCLE  OF  FILM 
CLASSICS  at  no  cost  to  themselves,  and  indeed, 
with  a  possibility  of  considerable  pecuniary  profit. 
None  of  them  involves  any  expenditure  of  money — a  little 
energy,  time  and  co-operation  is  all  that  is  necessary — and  more 
co-operation  than  energy  or  time. 

When  it  is  considered  that  these  pictures  have  been  exhibited 
at  many  theatres,  where  high  admission  prices  were  charged, 
and  that  by  our  present  plan  societies,  organizations  and  leagues 
may  view  the  entire  cycle  of  eight  without  cost  to  them,  the 
importance  of  our  offer  becomes  immediately  apparent. 

We  are  anxious  that  clubs,  societies,  fraternal  orders,  philan- 
thropic organizations,  schools,  colleges,  universities,  churches, 
leagues,  etc.,  avail  themselves  of  this  unusual  opportunity. 

PLAN  NO.  I. 

Select  a  committee  to  visit  the  proprietor  of  the  best  motion- 
picture  theatre  in  your  community.  Inform  the  exhibitor  that 
your  organization  is  interested  in  exhibiting  GEORGE 
KLEINE'S  CYCLE  OF  FILM  CLASSICS,  and  that  his  theatre 
has  been  selected  as  the  most  progressive  and  the  one  most 
likely  to  attract  the  best  class  of  people.  Tell  him  that  your 
organization  will  decide  on  a  certain  afternoon  or  evening,  once 
a  week,  to  view  the  Classics,  and  will  attend  in  a  body.  Suggest 
to  him  that  in  addition  to  your  support  you  will  assist  him  by 
advertising  the  engagements  in  whatever  ways  occur  to  you. 

If  this  plan  is  placed  before  him  fairly  we  have  no  doubt  he 


of    Film     Classics 

Page  fifty-nine 


will  greet  it  with  enthusiasm.  While  the  subjects  cost  him 
more  than  his  regular  program,  he  will  be  substituting  a  beauti- 
ful classic  for  the  usual  inconsequential  drama  or  comedy. 
Moreover,  he  is  dependent  on  the  good-will  of  his  community 
for  support  and  will  be  pleased  with  your  interest  in  his  house 
and  your  willingness  to  co-operate  with  him  in  attracting  a 
clientel  of  solid,  substantial  folk.  The  proposition  involves  no 
out-of-the-ordinary  risk  or  expenditure  on  his  part,  and,  further- 
more, will  add  prestige  to  and  create  more  interest  in  his  theatre. 

PLAN  NO.  2 

Have  your  committee  call  on  the  exhibitor  and  explain  to  him 
that  your  organization  wishes  to  view  GEORGE  KLEINE'S 
CYCLE  OF  FILM  CLASSICS,  and  that  you  are  willing  to 
guarantee  him  the  sale  of  a  certain  number  of  course  tickets,  the 
amount  of  the  guarantee  to  be  decided  by  yourselves.  Inasmuch 
as  all  your  members  will  want  to  attend,  you  can  at  least  safely 
guarantee  as  many  tickets  as  you  have  members,  and  each  mem- 
ber will  certainly  arrange  to  sell  at  least  two  or  more  tickets  to 
friends.  Many  organizations  now  viewing  the  Classics  have 
volunteered  the  sale  of  four  or  five  times  the  number  of  tickets 
as  there  were  members  in  the  organization,  owing  to  the  slight 
admission  charge.  The  guarantee  need  be  made  no  larger  than 
an  amount  equivalent  to  the  actual  expenses  of  the  exhibitor  in 
arranging  for  the  cycle. 

PLAN  NO.  3 

This  is  by  all  odds  the  most  popular  of  the  three,  and  one  that 
appeals  strongly  to  clubs  and  societies  willing  to  increase  their 
cash-on-hand  accounts.  It  is  in  use  all  over  the  country  with 
pronounced  success. 

Explain  to  the  exhibitor  that  your  society  or  club  is  interested 
in  viewing  the  Classics,  and  that  you  will  divide  with  him,  on  an 
equitable  percentage  basis,  the  profits  to  be  derived  from  the 
course  of  eight  lectures.     Each  member  is  then  given  a  block  of 


George     K  I  e  i  n  e's     Cycle 
Page  sixty  '  ■ 


tickets  to  sell  for  the  entire  course.  You  enlist  the  support  of 
your  daily  paper  and  co-operate  with  the  exhibitor  in  giving 
publicity  to  the  coming  lectures  through  the  various  mediums 
at  hand.  With  his  experience  in  such  matters  he  can  assist  very 
materially  by  utilizing  his  own  advertising  space  in  the  daily 
papers,  by  showing  on  his  screen  every  evening  a  glass  slide  an- 
nouncing the  course,  and  by  the  use  of  lithographs  in  neighbor- 
ing windows  and  the  lobby  of  his  theatre. 

You  can  easily  interest  the  local  school  board,  suggesting  that 
your  organization  or  a  daily  newspaper  give  away  a  set  of 
histories  to  the  student  who,  after  seeing  "Julius  Caesar,"  writes 
the  best  essay  on  his  life  and  work.  Many  societies  have  already 
tried  this  plan  with  much  success,  creating  a  great  deal  of 
enthusiasm  in  advance  of  the  arrival  of  the  film. 

Explain  to  the  exhibitor  that  you  will  allow  him  to  deduct 
from  the  first  money  received  the  cost  of  rental  and  other  mis- 
cellaneous expenses,  such  as  printing  of  the  course  tickets,  ad- 
vertising, etc.  The  balance  can  then  be  shared  on  a  percentage 
basis  that  will  be  mutually  agreeable.  A  fair  arrangement  is 
to  give  the  exhibitor  sixty  or  sixty-five  per  cent,  and  the  organi- 
zation forty  or  thirty-five  per  cent. 

In  connection  with  this  plan  an  advanced  admission  fee  may 
be  charged  which  will  add  considerably  to  the  gross  receipts. 
For  example,  in  a  house  seating  five  hundred  persons,  with  an 
admission  of  twenty-five  cents,  the  receipts  per  lecture  would 
be  $125;  for  the  entire  course,  $1,000.  Roughly,  this  would  net 
your  organization,  after  all  expenses  had  been  paid  and  the 
exhibitor  had  received  his  share,  more  than  $300. 

Those  in  charge  of  schools  are  quick  to  recognize  the  educa- 
tional advantage  of  viewing  these  classics,  and  there  is  little 
doubt  that  you  can  enlist  their  assistance  and  dispose  of  a  con- 
siderable number  of  tickets  through  them.  A  helpful,  stimu- 
lating plan,  found  to  work  exceedingly  well  in  schools,  especially 
those  of  the  higher  grades,  is  to  ask  some  bright,  well-versed 

of    Film     Classics 

Page  sixty -one 


scholar  to  give  a  five  minutes'  lecture  before  the  picture  is  shown, 
taking  for  his  subject  the  picture  on  exhibition  that  day,  or  the 
one  shown  the  preceding  week.  You  will  be  surprised  to  see 
how  greatly  their  book  knowledge  is  supplemented  by  viewing 
these  historical  film  productions. 

Your  position  in  approaching  a  theatre  proprietor  or  manager 
is  stTongly  fortified  by  these  facts,  which  he  will  readily  appre- 
ciate. 

First.  The  prestige  it  will  give  his  theatre  by  reason  of  having 
been  selected  in  preference  to  all  others. 

Second.  The  better  class  clientele  of  patrons  he  will  secure 
by  co-operating  with  you  for  the  exhibition  of  the  Classics. 

Third.    The  assurance  he  will  have  of  a  certain  profit. 

Fourth.    The  possible  new  field  it  may  open  up  for  his  theatre. 

Fifth.  The  superiority  of  the  program  he  will  be  enabled  to 
offer  his  regular  patrons. 

Sixth.  It  will  require  no  great  power  of  persuasion  on  your 
part  to  make  him  see  these  advantages.  If  he  is  alive  to  business 
possibilities  he  will  grasp  this  one. 

On  page  64  you  will  find  a  sample  course  ticket  which  can 
be  used  with  any  of  the  plans  suggested  above. 


Page  sixty-two 


Date. 

City  

State    . .  •  • •  • 

Name   of   Organization    

President    

Committee  


Name  of  Theatre    •  • •  •  . . 

Manager    ■  • 

Address    •  • •  • 

Capacity   

Admission    , •  • 

Music    

Interested  in  Plan  No.  i    

No.  2  

"       "      No.  3   

(Check  plan  you  are  considering,  and  whether  afternoon  or 

evening  performance  is  desired.) 

REPORT  OF  COMMITTEE. 

What    afternoon     or     evening     was    mutually     agreeable     and     decided 

upon    

Give  date  on  which  exhibitor  will  communicate  with  us 

(Owing  to  the  popularity  of  the  Cycle,  it  is  imperative  that 
there  be  no  delay.) 

Course  to  start.     Day    

Date    

Price  to  be  charged  for  course  ticket 

Price  to  be  charged  for  single  admission 

Will  Newspapers  help  by  giving  publicity  

Name  of  papers    


Editor 


(Our  publicity  department  will  handle  entire  newspaper  cam- 
paign, furnishing  stories,  photographs,  cuts,  etc.) 

Approved  by   

President. 


NOTE  TO,  COMMITTEE: — In  order  to  expedite  matters,  if  con- 
sistent, have  exhibitor  fill  in  the  following: 

"Please    communicate    with    me    immediately,    advising    terms    for 
-course  of  Cycle  of  Film  Classics.     I  will  require  advertising  matter  as 

follows    " 

(Signed)     EXHIBITOR. 
REMARKS    


Kindly  detach  this  page  and  return  to  George  Kleine,  729  7th  Avenue 
New  York  City 


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